Master degree thesis: PASS.PAR.TOUT - A nocturnal installation for L'Aquila
Year: 2013
Role: Concept, planning, illustration, graphic renderings
The project is a temporary night urban installation designed for the historic center of L'Aquila. An event aimed to reflecting people on the issues surrounding the earthquake, in particular those related to the lack of public lighting and the "waiting" condition in which the center is located.
The consequences of the earthquake have had a major impact on the daily lives of citizensi; leading to a number of obvious problems, one of which is the lack of public lighting.
The city is in a suspended dimension, it looks like a still image of the present, but it has to deal with the past and orient itself towards the future.
Light.
Light as material, ephemeral and impalpable, but capable of building form; not to burden the already saturated city of matter.
The goal is to revive public space as an ‘interieur’, not just as a crossing space, allowing visitors to observe a new face of the city, the surreal beauty of the security supports that, though long, ensure rebuilding.
The urban fabric was analysed based on its historical evolution and the natural disasters that struck the city as the earthquake of 1703.
There're in evidence thirty buildings of greatest historical / artistic and cultural significance that after a careful investigation were classified into three categories depending on the various structural mutations that have undergone over time.
A representation structure is highlighted for each category; San Silvestro Church (I type), Basilica of San Bernardino (II type), Tommasiana Library (III type).
There're in evidence thirty buildings of greatest historical / artistic and cultural significance that after a careful investigation were classified into three categories depending on the various structural mutations that have undergone over time.
A representation structure is highlighted for each category; San Silvestro Church (I type), Basilica of San Bernardino (II type), Tommasiana Library (III type).
The route runs around the main avenues, such as Corso Emanuele and Corso Federico II, and involves the "abandoned" secondary roads.
It consists of three segments that open a new portion of cities in succession; the event culminates on the third day when the interior of the historic center is involved by the installation.
ELEMENTS OF THE ITINERARY
Schematic presentation of the compositional scheme of each section of the intervention.
The outlined structure is modulated by its location in the urban fabric and is developed adapting to the pre-existing systems of support and safety.
Schematic presentation of the compositional scheme of each section of the intervention.
The outlined structure is modulated by its location in the urban fabric and is developed adapting to the pre-existing systems of support and safety.
CHURCH OF SAN SILVESTRO | I Type - S.Silvestro square
[1] Spatial organization dating from the 13th and 14th centuries. For the first to have a basilica in the city of L'Aquila. [2] Staircase consisting of 9 steps: architectural element that overgrown it and the island from the urban context. [3] Opening to the right side facade book. Coating: "Approach to eagle". [4] Opening to the left side facade book. Coating: "irregular cones". [5] Erection of the sculptural façade in 1350. Scanning in two horizontal orders. Retraction from behind body. [6] Vast framing of the Romanesque portal similar to the churches of S.Giusta and S.Marco. Lunette depicting "Agnus Dei". [7] Infisso ligneo originated in 1539. Split into quadrants, each of which has a different incision. [8] Gothic decorated rosette. Rendered frame, example of the second century. [9] White and red stone facade, the first reception of the Arab and Syrian aura linked to chromaticity. [10] Edifice of the bell tower in 1800, which underwent a collapse in 2009. [11] Presentation of safety scaffolds that support church elements and which now integrate history.
BASILICA OF SAN BERNARDINO | II Type - San Bernardino square
[1] Spatial organization dated XV, XVI century. Fabulous construction of the basilica, the works were repeatedly interrupted. Architectural reference to the church of Santa Maria del Fiore, Florence. [2] In 1525/1547 the imposing facade was realized. Detail of the rear window (1558/1562). Representation of Girolamo From Norcia, welcomed by Our Lady. [3] In 1570 the majestic dome was built. It was the largest dome ever built in Abruzzo. [4] In 1703 the dome collapsed following the devastating earthquake. [5] After the catastrophe, the perimeter walls remained intact or only partially damaged. The bell tower did not suffer any significant damage. [6] In 1724/1726 the splendid wooden ceiling was completed. An artistic masterpiece. [7] In the early decades of 1800 the large staircase was erected in front of the basilica, on the eighteenth century. [8] In 1960 the façade was completely restored, highlighting the division into 9 quadrants. Detail of the elegant central serlian, added late in 1700. [9] The elements that make up the facade appear according to the three classic orders (Ionic, Doric, Corinthians) and express themselves in the 4 pairs of columns. [10] Presentation of the marvelous facade in its entirety and integrity. In 2009 it was only scratched by the shocks of the earthquake. [11] Analogue with the new basilica of S.Bernardino built in Piazza D'Armi, built in steel and wood on the project of Citterio
LIBRARY OF SALVATORE TOMMASI | III Type - Palace square
[1] The convent of the Franciscans. The oldest monastic complex in the city began to become a topic of debate in the Kingdom. [2] The monastic complex became "Real Liceo degli Abruzzi" and the library specializes in the history of the Abruzzi and Southern Italy. [3] In 1848 the library was opened to the public, resulting in a debate with the Jesuits lasting twenty years (1850/1870). [4] In 1872 the library became completely autonomous. Moment of absolute splendor (second archive of the Kingdom after Naples). [5] The library maintained its privileged position and the look of its archives for years, delivering high-volume volumes. [6] The church of St. Francis was cut down in 1877 by the so-called Convitto Palace; the first porch and the Palace Square became the only square without a church. [7] The portico played a key role in the urban life of the city; marked a new fruition of public spaces. [8] After the recent earthquake, the library was closed to the public, the building underwent numerous collapses and the archive was transposed into an outside site.
SOUND / BRIGHT INSTALLATION - course Vittorio Emanuele
The porch becomes a light catalyst. Passers-by recording their voice contribute to creating a scenic corridor of acoustic and luminous reverbs. Generation of "new dialogues" incomprehensible.
As a gigantic equalizer, sounds and noises become bright particles that, summing up to those previously emitted, revive the abandoned central arcades.
As a gigantic equalizer, sounds and noises become bright particles that, summing up to those previously emitted, revive the abandoned central arcades.
PHYSIODYNAMIC / BRIGHT INSTALLATION - course Federico II
Installation records the passage of visitors through an infrared system that monitors the transit and converts it through the use of a special software on light particles detected on the front of the screen.
On both sides of the Passage the skies are more or less composite depending on the visitor's interaction, inducing them to confront not only with themselves but also with the community.
Installation records the passage of visitors through an infrared system that monitors the transit and converts it through the use of a special software on light particles detected on the front of the screen.
On both sides of the Passage the skies are more or less composite depending on the visitor's interaction, inducing them to confront not only with themselves but also with the community.
PHYSIODYNAMIC / BRIGHT INSTALLATION
The passers-by find their image reflected in a bright wall that replicates the action with a slow-motion effect. A visible metaphor of correspondence between the person, his body, and his actions.
SOUND INSTALLATION
The "receptive" lamps absorb the sound or noise emitted by passers-by and immediately turn it into a light curtain which lights up the other lamps in succession and reproduces according to the sound duration of a delayed echo
